THE CURE ~ THE DREAM TOUR LIVE IN DENVER
June 5th, 2000, Fiddler's Green Ampitheatre, Greenwood VIllage CO
Coming somewhat full circle from last week's Denver Prayer Tour upload,
up to the Denver Dream Tour. Both these tours were kinda linked in my mind
because they both had amazing setlists, so I thought this would be a fantastic
compliment to last weeks Greenwood Village 1989 upload.
The sound on this one is amazing. A nearly perfect DAT recording of
one of the better setlists from this tour. Files taken from Second CD Copy of the Master tape.
Excellent sound and All Cats/Drowning/Faith encore!!
Download Links
Setlist
Adagio for Strings, Out Of This World, Watching Me Fall
Want, Fascination St., Open, The Loudest Sound, Maybe Someday
Like Cockatoos, Edge Of The Deep Green Sea, Inbetween Days
Sinking, Prayers For Rain, One Hundred Years, End,
39, Bloodflowers
Encores:
There Is No If, Trust, Plainsong, Disintegration
All Cats Are Gray, The Drowning Man, Faith
Lovesong, Play For Today, Just Like Heaven, A Forest
A fantastic show! This was my 7th show since 1989 and, in all honesty, this was the best I've experienced. The band played a great set, as you see above. Highlights included Plainsong, 100 Years, A Forest, All Cats Are Grey, Faith, and a brilliant verison of Like Cockatoos. The band sounded great on both the new and older material.
Robert's voice is in top form and Jason is much improved on drums since I last saw the band in 1997. Robert, by the way, got a bit emotional during a couple songs and he seemed to look longingly out at the crowd each time he exited the stage. The crowd of about 13,000 (just a guess) was enthusiastic, although they didn't seem quite as
familiar with some of the early material. The show would have benefited from a more creative and interesting light/visual show, but that is a minor flaw and can be easily overlooked considering the terrific music that the band played for nearly 3 hours.
By Andrew Figel
The fire's not out yet - Cure concert keeps crowd at Fiddler's on its feet
By Eric L. Reiner
Special to The Denver Post
June 7, 2000 - "The fire is almost out," Robert Smith of the Cure sang late in Monday's show at Fiddler's Green.
The lyric, from a song on the Cure's new "Bloodflowers" CD, wasn't so much a hint that the concert was nearly over as it was an announcement to fans that Smith, now 40, is thinking of throwing in the towel after more than 20 years as a musical icon. But regardless of what Smith intimated about the creative flames within him dying, he and the Cure staged a stellar concert that had the crowd on its feet all night, starting with the standing ovation that greeted the English band when it took the stage.
Known for dark music and darker lyrics, the band members were all in black. Smith showed up wearing semi-ghoulish white makeup and heavy black eyeliner, plus, of course, his trademark red lipstick and black bird's nest hair. (The crowd was fashionable, too; many wore leather/punkish clothes and hair dyed deep red, vampire purple, burgundy and other colors.)
Smith didn't have to say much to get his followers to cheer -"thank you" after a song was usually sufficient. And when he introduced a number by saying it's "from the 'Kiss Me' album"(referring to the 1987 album that made the Cure huge in the U.S.), the crowd roared before Smith even had a chance to name thetune. (It turned out to be the odd "Like Cockatoos," whichfeatured funky tropical-forest percussion sounds.)
Although Smith is decidedly the center of attention, other members of the Cure deserve honorable mention. Bassist Simon Gallup moved more than anyone else onstage, often bouncing as he played and incessantly roaming around, while guitarist Perry Bamonte made trippy, Pink Floyd-esque sounds on "39" and played a glitter guitar on pop-oriented numbers like "Fascination Street." Drummer Jason Cooper looked like he drove the band on one especially danceable, shake-you-in-your-spot selection, but it was hard to be sure: The Cure used plenty of effects to create their droning, hypnotic mix of beat, rhythm and texture. In fact, keyboardist Roger O'Donnell frequently stood several feet from his instrument (making it obvious that he wasn't playing it), and Gallup and Bamonte occasionally held their axes to the side, also clearly not playing, as if to fully disclose that more music was being produced onstage than there were musicians.
But so what if the band used backing tracks and other effects? The Cure rocked and sounded lush, full and big while doing it.
An interesting sub-theme to the outdoor show was the change from daylight to darkness. The sunshine at the start of the concert didn't necessarily diminish the effectiveness of the band's sometimes somber music, but it did wash out the strobe lights on the show's second number. However, after night fell, a bevy of flashing white lights aided the relentless beat of "100 Years." Dance-club-style lighting revved up the highly rhythmic "A Forest," the show closer.
There was an overarching structure to the set list, by the way.
The main set began with the first two songs from the "Bloodflowers" album and ended with the last two tracks from it, while the encores were built around loose themes. The second encore, for example, included numbers that Smith said "we don't play very much," like "All Cats Are Grey" and "The Drowning Man." And the third (and final) encore was loaded with such fast-paced, fun tunes as "Lovesong" and "Just Like Heaven." The concert clocked in just shy of the 3-hour mark, lasting right up to Fiddler's 10:30 p.m. curfew. Now that shows Smith still has plenty of fire.
