The Cult at Uptown Theater, Kansas City MO (2022-09-27) review

No “Mercy”, but four decades of classic songs, and even an on-stage birthday–

Legendary band The Cult has returned to the road, in support of upcoming new album Under the Midnight Sun (out Oct 7 via Round Hill/Frontline) and celebrated with their arsenal of multiple radio hits, a preview of the new record, and even a belated birthday for drummer John Tempesta.

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The evening began in near-darkness, and San Francisco’s King Woman taking to the stage for a generous set just short of an hour. In the most minimal dim blue lighting, the five-piece led by the haunting vocalist Kris Esfandiari, worked their way through songs from their latest (last year’s Celestial Blues, beginning with its title track) and their previous full-length, 2017’s Creating an Image of Suffering.

The band didn’t say much between songs, preferring to let the sheer impact of their doom-metal sound bowl over the mostly older crowd, many of whom seem surprised, or just shrugging and heading to the bar. Definitely an acquired taste or maybe for setting a bleaker, somber mood, the band does have its merits, but needs to be paired with more similar acts.

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No such confusion regarding any message from The Cult, as the fans knew exactly what to expect for their eighty-minute headlining set, many wearing tour shirts from previous tours and holding beverages high, as each recognizable song started up.

Beginning dreamily with 2001’s “Rise”, its Middle Eastern-inspired intro was quickly morphed into the familiar riffs of guitarist Billy Duffy to propel the song, and while Duffy may not be windmill guitaring with every number anymore, his overall playing has only sharpened over the years, and is undoubtedly the sonic engine that sends this musical beast headlong down the road.

Singer Ian Astbury still has his trademark long black hair (braided) and instantly recognizable growl, often catching a tambourine mid-air from a side stage roadie to help keep the beat of the song.

In addition to mainstays Astbury and Duffy, the touring lineup remains rock solid- Damon Fox adds a fuller sound with his keyboards, longtime Robert Plant bassist (and his son-in-law) provides an understated assurance on the low-end, and drummer John Tempesta, a sixteen-year band veteran, more than ably propels the rhythm.

Rock radio classics were peppered throughout, from a helping of “Sun King” and Doors-esque keyboard solo on “Sweet Soul Sister”, to “Edie (Ciao Baby) to the shaking “Lil Devil” from 1987’s Electric, recently moved up in the setlist from an encore song to a high-energy banger, anchoring everything near the mid-way point (with Astbury even working KC into the song lyrics).

Astbury didn’t say much to begin with, other than the occasional “Thank you kindly” but seemed to loosen and open up as the set progressed. We caught the band on opening night of this tour, in St. Paul, MN this July, and it seemed there was very little rust to shake off even then, the mark of being longtime professionals in this industry.

As mentioned, the new album releases very soon and audiences have been treated to hearing its lead single, “Give Me Mercy” live since the first shows of the current tour, but they’ve switched it up of late, instead showcasing second single, “A Cut Inside” with Astbury more than happy to declare in song, that they are “outsiders forever, the ghost of our lives”.

From there, the set found that elusive sixth gear, barreling downhill with nothing but unforgettable songs that have been key in defining them as an enduring band. By then, Astbury had loosened up, calling out friends in the audience, stripping his in-ear monitors off to finish the set old school, and questioning why everyone has decided to cut their hair short.

By the time the band got to the main set closer of 1985's “She Sells Sanctuary”, everyone in the building (still sober enough to) was singing along, with that “sparkle in your eyes" still "keeps me alive”, and after almost forty years of that signature song taking over the airwaves.

The single-song encore of 1987’s “Love Removal Machine” may not be their biggest hit, but the song was the ideal tempo, embellished with Duffy’s seemingly simple, but eminently effective guitar riffs, to send the crowd out a true musical high, even working in an overdue Tempesta mini drum solo to end things.

As the band took their bows and waved, Astbury introduced the band as the crew brought out a large birthday cake for drummer Tempesta- he, not sure if it was actually to eat or if a food fight might break out, initially held his sticks up to protect his face, before realizing everything was genuine.

Duffy even took to the mic, to reminisce that they had played this same venue years ago, when underage patrons were relegated to only the balcony, and those who could drink, were assigned lower-level round tables. “We’ve gotten older…and so have you… and it’s great!” he emoted.

Though the new album might be titled Under the Midnight Sun (actually inspired by Astbury watching footage of the band playing a 1986 outdoor festival in Finland), it’s anything but the twilight of The Cult, with years of more music, to come.

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