CURIOSA FESTIVAL-Atlanta72904

CURIOSA
(featuring The Cure, Thursday, Interpol, Muse, The Rapture, Auf Der Maur and Mogwai)

Thursday July 29, 2004
Hi-Fi Buys Amphitheatre - Atlanta, GA

Mogwai:

As much as I hate to say it, Curiosa was a major disappointment. Hopes were high walking into the most intriguing lineup of the summer but were soon dashed with a super-boring set from Mogwai.

What works beautifully in a club doesn’t work in a shed. Sluggish and not seeming to be having a good time, this is one band that needs a cloak of darkness to be interesting. In daylight, they fall completely flat.

The Rapture:

The Rapture was slightly more entertaining but it was mostly because they seemed intent on irritating the restless crowd with cowbell-led indie rock.

Dozens of hardcore Goths stared awkwardly at the taunting band, trying not to show that they were in imminent danger of dancing if they didn’t keep in check.

Auf Der Maur:

Meanwhile, the real action was centered at the second stage where Auf Der Maur delivered a crushing set, a completely pleasant surprise. The ex-Hole / Smashing Pumpkins bassist led her new band through a set that mixed Sabbath and camp in equal doses.

She even had the dignity to ignore the shouts of “Courtney’s a whore” that (I believe) were intended as a compliment to Melissa Auf Der Maur.

Muse:

Then, it got even better. Muse was smoking. The British 3-piece let loose with over the top histrionics that even broad daylight and technical difficulties couldn’t hinder. It was absolute overkill in the best possible way.

I wish I could’ve stayed for the duration, but I had to make it back to the main stage, which would no doubt be greatly improved with the arrival of Interpol.

Interpol:

Alas, this was not to be. Interpol also lacked the oomph of their club dates. They weren’t bad, but they were perfectly mediocre.

At least the lights were amazing and the hipsters all looked super cool under them.

Thursday:

Next up was the secondary headliner. I’ll tell you up front, I’ve always hated Thursday. They’re one of those bands that instantly bug me. Since Interpol had let me down, I forced myself to go over and see them. I’m glad I did.

The emo-whining, “my God, I’ve broken my toe nail and I’ll never be the same” angst actually worked in concert. It didn’t hurt that their diehard fans jammed the entire area, singing every word and hurling their bodies toward the stage. Completely shocked, I wandered back to the big stage for the main event.

The Cure:

The Cure. Honestly, they seemed bored. The moody lighting was perfect and the mix was crystal clear but the performance lacked the stuff of legend, which is what I expected. This was just another average night for a once great band. Looking like “a Japanimated panda bear, “ Robert Smith led us through “Fascination Street”, “Just Like Heaven” and “Pictures Of You.” These hits pleased the crowd, but felt like cruise control.

Things turned fittingly dark for the end. “The Promise” was rife with unresolved tension. One by one, the group left the stage, leaving only Robert Smith crooning, “You promised me another lie. You promised. And I’m still waiting, still waiting.” He repeated the words until they became a mantra. It was high drama at its guilty pleasure best. Too bad the rest of the show wasn’t as powerful.

Eventually, I left the covered area and relaxed on the mostly empty lawn. Somehow, I felt more in touch with the band by being disconnected, watching from a distance. A full moon shone down on “In Between Days” and “Lovesong.” And it felt alright, if not spectacular.

Everyone reappeared for the lightened up encores, which included an overly giddy “Why Can’t I Be You?” but this only undermined the pre-encore feeling. It was almost The Cure, but not quite.

(Chris McKay / concertshots.com)


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